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The Realism of James Joyce: Autobiography, Intertextuality, and Genius

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The Realism of James Joyce: Autobiography, Intertextuality, and Genius Western Washington University Western CEDAR WWU Honors Program Senior Projects WWU Graduate and Undergraduate Scholarship Spring 2004 The Realism of James Joyce: Autobiography, Intertextuality, and Genius Andrew Shanafelt Follow this and additional works at: https://cedar.wwu.edu/wwu_honors Part of the English Language and Literature Commons Recommended Citation Shanafelt, Andrew, "The Realism of James Joyce: Autobiography, Intertextuality, and Genius" (2004). WWU Honors Program Senior Projects. 281. https://cedar.wwu.edu/wwu_honors/281 This Project is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Honors Program Senior Projects by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. The Realism of James Joyce Autobiography, Intertextuality, and Genius Andrew Shanafelt Honors Senior Project June 2004 Advisor: Dr. Margaritis WESTERN _______B WASHINGTON UNIVERSITY_________________________________ An equal opportunity university Honors Program HONORS THESIS In presenting this Honors paper in partial requirements for a bachelor’s degree at Western Washington University, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes. It is understood that any publication of this thesis fog comififerotel purposes or for financial gain shall not be allowed without my written pe/mis^pn. Signature Date_ (^/3/zoo^ Stately, plump Oliver Gogarty sits down in 1921 to read the mammoth novel that his erstwhile friend and roommate has at last completed, and against all odds published. He is understandably disturbed and surprised by what he finds. For one, his friend, whom has refused contact for fifteen years, begins his groundbreaking work by painting a picture of Buck Mulligan, a thinly disguised cover for Gogarty. In it he is transformed from a responsible, conceited medical student to the height of insensitivity and betrayal. His inconsideration ranges from the minor, when he commandeers Stephen s handkerchief to wipe his shaving razor clean, to the major, when he refers to Stephen s recently deceased mother as “beastly dead.”' He unarguably retains his roguish and irreverent charm, both with his mock mass in the midst of shaving, and his Ballad of the Joking Jesus.”^ But the chapter is colored by the polaric interplay between Stephen Quiet, intellectual, and taken advantage of, and Buck ^parasite, betrayer, and heretic. The book is Ulysses, and the erstwhile friend is none other than James Joyce. Joyce and Gogarty shared a domicile at the Martello Tower in Dublin bay during Ihe summer of 1904.^ Joyce returned from “studying” in Paris because his mother had fallen ill. After a period of living at home, Joyce could no longer take it in his oppressive ^d poor household, so he agreed to move in with Gogarty. The financial situation was such that Gogarty paid for everything, from rent to food to the drink that Gogarty got Joyce hooked on. After a time, Joyce began to feel unwelcome, largely due to his financial dependence on his affluent roommate. In early fall, Gogarty invited Trench, an Anglo-Irish friend from Oxford (which Gogarty was attending), to stay with them at the tower. Joyce did not particularly enjoy the company of this Trench, and felt his presence 2 was Joyce’s unofficial eviction. However, the Joyces had lived in and out of most the neighborhoods in Dublin. Since James’ youth, his father had given him an expansive education in the art of stalling evictions and debt payments. As such, Gogarty’s subtle tactics did not affect Joyce. Tensions came to a head on September 14. Trench had a series of nightmares involving a black panther stalking him in a jungle. In his stupor. Trench grabbed a nearby revolver and fired a shot at the imagined beast, inadvertently discharging it over the slumbering form of Joyce. This naturally disconcerted the would- be poet, and his fears were heightened when Trench began murmuring about the panther again. This time, to avoid an accidental injury, Gogarty seized the gun and fired a shot to placate Trench, conveniently shooting just above Joyce again, this time hitting some of their cookware. Joyce accepted this as his formal eviction. He gathered his things and never returned. This scene transforms into the introduction to the novel, Ulysses. The three men are again at the Martello Tower; however, a few things have been changed. For one, instead of a night in mid-September, the setting is now early morning on June 16, 1904, what is now known as “Bloomsday.” Joyce changes this because he has congealed many of his own life experiences into one day of central importance, the first date with his eventual wife, Nora Barnacle. This is one of the most obvious examples in a whole series of alterations Joyce makes for the benefit of the work. While he does in many ways limit his work to factual details about June 16,1904 (what horse won a race that day for instance), Joyce freely moves events from other days in his life to this central date. As a result of packing more occurrences into this one day, he addresses an extended segment of the human experience, expanding the scope of his work. Also different are the 3 relationsh ips between the men. Now, it appears that Buck and Stephen are on equal financial footing, and if anything, Stephen is covering the expenses. This establishes a different relationship, and makes Buck’s invitation to Haines more insensitive than Gogarty’s invitation to Trench. Furthermore, Haines (Trench ’s character in the book) is now an English stranger. He is collecting information for a book on Irish culture. Otherwise he is merely some man Buck met and brought home. No longer is he a friend of the rent-payer, but a hopeful mark for the perpetual con man. As a legitimate guest, he does not serve Joyce’s vision in Ulysses at all. However, as an unwanted and obnoxious invader, he further establishes Buck’s abusive relationship with Stephen. This relationship is what Joyce wants to focus on. Furthermore, he transplants the scene to the morning following the nightmares. In reality, when this scene would have occurred, Joyce had already retreated, indignantly, back to his father’s house. In the novel, a brave Stephen faces the worst of Haines ’ storm. Stephen, unlike Joyce, does not feel evicted. He is merelyannoyed that Haines made such a racket. As the scene progresses. Buck steadily puts Stephen down time after time, eventually emasculating him by taking away his key. This affront is what motivates Stephen’s vow never to return, or at least not that night. The relationship, then, becomes a different beast than the one Joyce and Gogarty enjoyed. Joyce, and most of his loyal friends, thought Gogarty had nefarious designs for Joyce. He vocally expressed a desire to ruin Joyce by making him a drinker, a pastime Joyce had avoided until their fnendship. Joyce, along with his brother Stanislaus and true fnend Bryne, thought that Gogarty’s motives went beyond the desire for a drinking buddy. They felt that Gogarty saw the brilliance latent in Joyce, and in a fantastic act of hubris, wanted to destroy him. This aspect of their relationship is what Joyce focuses on 4 in the scene at the Martello tower. Had he presented precisely what had gone on, their relationship would have been complicated by the beneficial things that Gogarty did for Joyce. Instead, Buck takes advantage of Stephen at every opportunity, heightening his role as betrayer and usurper. Joyce’s works, in general, are largely autobiographical. The episode discussed above is representative of the way his writing process worked. Few of his books do not deal directlywith his experiences or those of people close to him. Even if Joyce creates an event wholesale, he still embeds characters based on his acquaintances into the scene. This reality basis was a general and all-encompassing choice of his, and it leads to the veracity that pervades the work of Ulysses and A Portrait of the Artist as a Young Man. To a casual reader, who has a difficult time following what Joyce says even on a basic level, it may seem strange to claim that Joyce is most characterized by realism, but even these confusing passages are merely an attempt to faithfully communicate his perception of reality. In the end, through his emphasis on actual events, characters, and settings — largely taken from his own life—Joyce manages a fantastic culmination of all the things that realism promises. There may be those who claim that biography is not the proper way to read an author. This is clearly not the case with Joyce. For one, he writes in a largely autobiographical vein. Yet he does not merely record the precise facts of his life, like a diary. As already displayed above in the Martello Tower scene, Joyce takes aspects of his life and alters them slightly, manipulating them into art. There is nothing imitative and mindless about it. However, there are those who would say it is a stretch to draw biography into the discussion of a piece. Most artists include things in their work that are 5 similar to their experiences. Joyce goes further and injects himself directly, so it would neglect his vision to ignore this lens. If an author positions his story in a prominent historical event, it would be lunacy to suggest that you should not investigate the event to truly understand the work. Similarly, as Joyce puts his own life in his novels, you are forced to analyze A Portraitof the Artist as a Young Man and Ulysses through this lens.
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